Param Vir HAYAGRIVA (2005) for large ensemble
Full score
NOVELLO
Commissioned by the Schรถnberg Ensemble First performance on 13 December 2005, Muziekgebouw aan 't IJ, Amsterdam by the Schรถnberg Ensemble conducted by Micha Hamel
for Micha Hamel
Duration: circa 13 minutes
Instrumentation Flute (Piccolo, Alto flute) Oboe (Cor Anglais) Clarinet in Bb (Bass Clarinet) Bassoon Horn in F Trumpet in C Trombone (with ‘C’ extension) Percussion: Tambourine, Tom-toms, Timpani, Bass drum, Xylophone, Chinese wood block, Axatse, Whip,Crotales, Glockenspiel, Almglocken, Tubular bells,Triangle, Steel spring, Large suspended cymbal, Gong, Tam-tam (high & medium)
Harp Piano (Celesta) 2 Violins Viola Violoncello Double Bass The score is written in C with the usual octave transpositions: 1) Glockenspiel and Crotales sound two octaves higher than written 2) Piccolo, Xylophone and Celesta sound one octave higher than written 3) Double Bass sounds one octave lower than written, except for natural harmonics in the treble clef which sound as written (suoni reali)
Notation quarter sharp quarter flat three-quarters sharp three-quarters flat highest note possible molto vibrato in string instruments in the piano part these are notes that are to be plucked with the finger Performance notes Superball: (a) When this is indicated in the Timpani part, a hard (solid) rubber ball should be dragged across the surface of the drum-head, to produce a smooth glissando in association with the movement of the pedal. (The rubber ball is attached to a springy wire.) (b) When this is indicated in the Tam-tam part, the superball should be dragged freely across the surface of the Tam-tam. It is expected that the sound produced will be variable and uneven in contour, timbral quality and intensity. Strings: (a) Notes in brackets mark the speed of very slow glissandi in the strings over several bars. Their pitch is transient, and should not be given any extra emphasis during the performance of continuous glissandi. (b) In the passages from Bar 144, where there are extensive string glissandi over rather short intervals, the bow should exert continuous pressure on the string during each glissando, so that they have full tonal weight, imitating the Indian style of playing. All tremolos are unmeasured. Grace notes are performed before the beat, as a rule. Unless otherwise indicated, trills are always with the upper semitone. TIHAI: This is a rhythmic cadential feature drawn from Indian classical music, and consists of a pattern that is repeated three times to signal the end of a section.
HAYAGRIVA for large ensemble Hayagriva is a horse-headed being known in Indian and Tibetan sacred literature and art as an incarnation of Vishnu, associated with knowledge and wisdom. He is married to another male deity Gratu, who represents inspiration and the power of intelligence. My work draws on this image of Hayagriva and continues an exploration of beings both human and non-human associated with the inner life and self-transformation. At about the time that I began to conceive this work, I encountered the bronze ‘Standing Horse’ by Beth Carter at an art fair. It was a striking sculpture of a man with a horse’s head, and formed part of her own series of investigations of human and animal forms. My composition of the work thus drew very direct inspiration from the presence of this vibrant image in my workspace. Though Hayagriva, as a mythological archetype, is associated with many stories and fantastical episodes, I have kept my work free of narrative and, as I did in an earlier work, internalised the drama around his magical qualities, in three distinct panels of the work. After the initial flurry of notes capped by a Tihai (rhythmic cadence appearing three times), the music settles into its first main panel, underpinned by 19 cycles of 17 beats each, organised like a chaconne with alternating harmonic fields. Images unfold at great speed and with brilliance around rhythmic re-iterations of a rhetorical gesture that mark the chaconne aurally. The piano and brass instruments are primary forces here with brilliant virtuoso passages and cadenzas, whilst the strings play almost continuously. This is very much the ‘horse-panel’, fired by the earth-colours of red and crimson, and drew some of its rhythmic energy from the following verse in the Book of Job (39:19):
Hast thou given the horse strength? hast thou clothed his neck with thunder? Canst thou make him afraid as a grasshopper? The glory of his nostrils is terrible. He paweth in the valley, and rejoiceth in his strength: he goeth on to meet the armed men. He mocketh at fear, and is not affrighted; neither turneth he back from the sword. The quiver rattleth against him, the glittering spear and the shield. He swalloweth the ground with fierceness and rage: neither believeth he that it is the sound of the trumpet. He saith among the trumpets, Ha, ha; and he smelleth the battle afar off, the thunder of the captains, and the shouting.
The horse panel leads to a bridging section, ‘green-gold’ in focus, associated with compassion. The chief musical elements are a duet for harp and celesta, laced with percussion. This slows down the tempo to the final panel of the work, ‘blue’, which is a single sonic space organised around a structural polyrhythm and a harmonic field based on fourths. The polyrhythmic background is symbolic of the deity Hayagriva’s association in traditional imagery with the eternity of space, and its spiral-like quality is represented by an exact golden section in the main rhythmic division of the panel. The musical objects here are sparser, fragmented, subdued, and defocused through the use of glissandi and quarter-tones; they help to undermine the identity and solidity that have characterised the first panel of the work. Through this non-narrative space is traced a melodic line in the cor anglais, canonically embellished by the viola. This leads to an epiphanic passage in other wind instruments, followed by the strings, which draw the work to its conclusion. The work has a small tailpiece: a striking 12-note figure quoted from Parade, a very early unpublished work by Sir Peter Maxwell Davies, which I have freely re-iterated for a few bars. This codetta seemed apt as my work had its beginnings in his composition studio in Sanday, Orkney, in June 2005, when I was on a visit. Max’s work highlighted the same three primary colours in different movements (Red, Green, Blue) that I have focused in my work. Hayagriva was commissioned by the Schönberg Ensemble.
PV 23 March 2006 London
for Micha Hamel
HAYAGRIVA PARAM VIR 2005
q = 96c.
Flute
Oboe
Clarinet in Bb
Bassoon
Horn in F
Trombone
Percussion
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Viola
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(Harp harmonics sound an octave higher than written)
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© 2006 Novello & Company Limited
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3
5
3
5
5
5 5
5
Vln. 2
f
Vc.
Db.
f
6
3
3 3
3
3
f
f
3
5
ff
ff
ff
7
7
7
f
7
7
f
7
f
f
7
f
3
3
f
f
7
3
ff
ff
f
3
5
mf
3
pizz.
3
mf
pizz.
gliss.
3
f
pizz.
3
f
pizz.
3
f
mf
pizz.
mf
3
3
f
3
3
3
5
5
7
7
f
6
mp
3 III
ff
5
5
7
con sord.
5
f
F§ Ab B§
5
3
f Vla.
f
3
fmp
3 5
f
5
f
Pno.
5
(Xylo.)
5
A§ f
3
f
f
3
Vln. 1
5
f Tbn.
3
f
3
3
Fl.
38
Ob.
Cl.
Bsn.
Hn.
mp
(c.s.)
Tpt.
f
mf
Tbn.
Perc.
(Xylo.)
Vln. 1
mp
Vla.
Vc.
Db.
jeté
f
f
sf
sf
sf
mp
3
3
3
3
f
3
sf
mp
7
f
ff
3
mp
3
3
3
f
arco
5
3
5
3
pizz.
pizz.
pizz.
pizz.
sfz f
pizz.
sfz f
5
3
5
5
mp
3
gliss.
3
5
sf
5
3
3
5
5
mp
mf
3
sf
mf
3
mp
5
arco jeté
Vln. 2
7
arco
Bb sf
Db
Pno.
gliss.
mf
Hp.
17
18
4 to Piccolo 41
Picc.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Perc.
Hp.
Vln. 1
Vln. 2
5
5
f
5
mf
mp
5
5
f
f
5
mp
f
Ab
arco
ff arco
ff
Db.
3
mf
5
ff arco
Vc.
ff arco
Vla.
5
ff
ff
arco
ff
5
3 5
f
3
f
5
p
5
ff
4
5
Pno.
p
f Tbn.
5
ff
ff
ff
5
F§ B§
3
3
5
5
5
5
5
3
sul pont.
3
5
5
5
mf
5
5 3
3
mf
5
5
3
mf
mf
mf
mf
sul pont.
5
Picc.
42 mf
ff
mf
ff
mf
Bsn.
Hn.
Perc.
fmp
fmp
fmp
fmp
mp
f
f
5
5
5
ff
ff
ff
f
f
mf
mf
ff
f
9
mf
mf
f
f
f
5
3
p
3
3
mp
3
mp
mp
p
mp
5
mp
5
f
5
mp
mp
mp
Db.
7
mp
Vc.
Vla.
mf
Vln. 2
mp
Vln. 1
detaché/secco
ff
Pno.
5
mf
Hp.
ff
ff
mf
mp
19
mf
ff
Tpt.
Tbn.
Cl.
mf
Ob.
mp
20
44
Picc.
Hn.
mp
f
3
mp
3
Tbn.
Perc.
3
mp
mf
3
3
mf
f
mp
f
5
f
3
f
f
f
f
mp
f
f
f
Db.
Vc.
Vla.
Vln. 2
f
Hp.
Vln. 1
f
(c.s.)
mp
Pno.
mp
5
(Xylo.)
f
3
mp
Tpt.
f
3
mp
Cl.
Bsn.
Ob.
mp
mp
f 3
3
mp
3
mf
mf
f
f
sf
5
5
f
5
5
3
5
5
6
mf
6
f
3
sul pont.
46
Picc.
f
Ob.
Cl.
Bsn.
3
f
5
5
5
3
5
5
3
3
5
5
5
ord. ff
5
5
5
3
5
5
ff
5
3
3
mf
mf
3
mf
3
3
quasi legato, on the string
quasi legato, on the string
mp quasi legato, on the string
mp
mf
mp
6
mp
mf
mf
3 3 6 3
9
5
3
ff
3
(loco)
5
ff 5
ff
ff
Db.
ord.
Vc.
Vla.
f
Pno.
Vln. 2
f
f
Vln. 1
mp
mp
5
5
f
5
5
5
f
f
f
Hp.
f
f
f
mp
(Xylo.)
f
f
mp
f
Perc.
f
f
Tbn.
3
f
Tpt.
mp
f
3
ff
Hn.
21
quasi legato, on the string
mp quasi legato, on the string
mp
22
48
Picc.
Ob.
Cl.
Bsn.
Hn.
Tbn.
mp
sf
mp
mf
(Xylo.)
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
3
p
mf
5
5
3
5
f
5
mf
f
mf
f
5
5
mf
mf
5
5
mf
mf
5
f
f
f
f
f
f
f
f
f
5
6
mp
5
3
5
6
6
5
mf
f
mp
Hp.
5
f
mf
f
f
3
mf
3
mp 5
f
sf
Perc.
mp
Tpt.
3
3
3
3
3
Picc.
50
Ob.
Cl.
Bsn.
Hn.
3
f
ff
5
3
ff
3
3
solo 3 5
mp
f
sfmp
5
5
5
3
f
mp
3
ff
mp
mp
mp
f
f
f
ff
f
3
mp
ff
7
7
mf
5
to Glockenspiel
(c.s.)
mp
Db.
3
5
to Flute
Vc.
5
3
Vla.
mp
mp
f
Vln. 2
3
Hp.
Vln. 1
6
mp
ff
mf
Pno.
5
6
ff
3
ff
5
6
5 6 3 mp
3
3
3
(Xylo.)
Perc.
5
mp
5
5
sf
ff
sf
7
Tpt.
Tbn.
sf
23
5
f
3
5 5
3
5
5
3
f
5
3 5
mf
5
3
3
3 5 6 5
5
ff
5
ff
6
6
5
5
3
3
5
mp
ff
mp
ff
mp
5 6 5 3
mp
ff
6
5
3
mp
3
mp
3
24
Ob.
Cl.
53
Fl.
Bsn.
Hn.
Tpt.
Perc.
mf
Pno.
Vln. 1
mf
to Celesta
6
f mp sub.
3
f mp sub.
Vc.
Db.
7
CELESTA
f mp sub.
3
3
5
7
6
p
7
Bb C§
3
f
3
5
5
5
3
3
3 3
5
5
3
f
p
f
3
f mp sub.
mf
p
f mp sub.
Vla.
3
Vln. 2
GLOCKENSPIEL
mp
Hp.
6
7
Tbn.
3
p
p
p
25
Ob.
Cl.
55
Fl.
Bsn.
Hn.
Tpt.
Tbn.
3
Hp.
Cel.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
5
3
3
3
5 5
p
p
f
7
B§
to Piano
3
3
3
5
3
f
7
f
f
p
f
to Xylo.
f
3 3
3 mf
3
l.v.
ff
C#
3
pp
7
3
3
3
7
(Glock.)
Perc.
f
5
3
5
5
3
3
7
7
7
3
7
3
3
3
3
7
7
3
7
3
7
7
7
26
58
Fl.
Ob.
Cl.
3
mf
3
mf 3
mf
3
Bsn.
Hn.
Tpt.
Tbn.
Perc.
5
sf
Vln. 1
Vln. 2
Vla.
Vc.
Db.
3 3
3
3
f
p
p
mp
sfz 3 sfz
3
mp
mp
mp
p
pizz.
pizz.
mf
pizz.
mf pizz.
mf
pizz.
mf
D§
3
5
mf
3
3
p
5
p
sfz
3
6
f
Eb F Gb Ab B C Db
mf
p
3 sfz
Pno.
f
XYLOPHONE
f
mf
Hp.
f
sf
sf
mf
sf
mf
f
f
f
f
3
sfz
3
sfz
3
mf
mf
mf
sfz
mf
sfz
3 3
mp
f
sf
f
E§ Bb
sfz
3
f
sfz
mf
mf
Fl.
60
f
Ob.
Cl.
Tbn.
mp
mp
Pno.
Vln. 2
Vla.
Vc.
Db.
5
f
6
sfz
mf
sfz
6
arco
mf
3
6 6
arco mf
3
pp
mf
mp
pp
solo ,
,
ff
ff
3
3
f
f
3
f
3
ff
ff
f
3
6
f
f
3
Eb ff
3
pp
f
ff
ff
mf
3
ff
arco
sfz
6
arco
sfz
sfz
mf
arco
ff
Db
3
f
ff
3
f
3
sfz
3
ff
G§
3
ff
f
3
f
ff
mp
(Xylo.)
5
mf
Vln. 1
mf
5
mf
5
mf
3
mp
Hp.
Perc.
3
3
ff
27
mp
mf
mp
mp
f
3
ff
mf
Tpt.
3
mp
6
f mp
f
Hn.
mp
f
Bsn.
f
mf
mf
mf
mf
mf
28
62
Fl.
Ob.
Cl.
Bsn.
Hn.
sf
sf
sf
sf
Tpt.
Tbn.
Perc.
Hp.
sfz
5
sfzmf
sfz
3
3
quasi legato
5
5
5
5
5
5
5
sfz
sfz
7:4
6
12
3 arco 3 pizz.
sfz
3
3
3
pizz.
sfz pizz.
mf
arco
ff
3
3 3 sfz 3 arco mf
pizz.
sfz
sf
Vc.
5
5
5
Vla.
mf
5
Vln. 2
f
5
5
sfz
5
sfz
f
f
sfz
mf quasi legato
con sord.
Pno.
Db.
3
f
sfzmf
3
Vln. 1
mf
mf
3
3
mf
ff
3
sf
sf
3
3
sf
sf
sf
7:4
sf
ff
sf
ff
ff
ff
sub.
sub.
ff
sub.
ff
sub.
sub.
Fl.
64
sfz
Ob.
sfz
Cl.
Bsn.
sfz
pp
Tpt.
Tbn.
Perc.
Hp.
mp
ff
mp
Vln. 1
Vln. 2
Vla.
mf
pp
mf
mf
pp
mf
pp
mp
Pno.
mf
ff
mf
pp
pp
pp
sfz
Hn.
29
5
5
7
7
5
3
3
3 3 arco
5
5
5
arco
Vc.
Db.
5
5
5
5
5
30
Fl.
Ob.
ord.
7 fltr. fltr. 66 ord. 5 f 5 3 5
mp
Cl.
f
Bsn.
Hn.
f
3
Perc.
3
3
5
3
f
3
7
5
mp
mp
mp
mp
sf
5
3
p
p
f
7
mp
gliss.
mf
mp
3
. gliss
5
5
5
5
mp
f
3
3
3
f
mp
sffz
5
5
f
Db.
5
f
Vc.
7
Vla.
p
3
Vln. 2
3
3
Vln. 1
7
Pno.
3
5
5
mp
Hp.
5
mp Tbn.
3
f
Tpt.
5
7
mp
f
gliss.
5
5
5
5
p
3
6
3
spic.
jeté
10
3
3
3
5
3
p
3 3 3
Fl.
68
Ob.
Cl.
Bsn.
Hn.
3
3
Tbn.
Perc.
5
C#
Db.
3
mf
3
3
mp
3
f
3
5
f
3
gliss.
gliss.
3
9
12
g l iss. f mp sf 3
6
gliss.
5
5
spic.
mf
mp
mp
jeté
ff
f
3
3
5
3
(loco)
9
gliss.
jeté
gliss.
mp
C§
3
3
gliss. 3
mf
6
10
6
3
p
6
Vc.
3
D§
3
Vla.
jeté
Vln. 2
10
Vln. 1
3
5
Pno.
6
3
6
mp
3
Hp.
6
31
5
mp
Tpt.
fltr.
3
sf
gliss. 3
32
ord.
70
Fl.
Bsn.
Hn.
Perc.
f
f
sf
mf
mp
mp
sf
5
Vln. 1
13:8
f
mf
Vln. 2
Vla.
Vc.
Db.
mf
5 5
mf
mf
5
f
f
3
5
f
D#
f
f
7
mf
7
5
mp
5
mp
Pno.
f
6
mp
3
Bb
f
5
5
f
mf
E§
sf
Hp.
sf
mf
Tpt.
Tbn.
f
sf
Cl.
f
Ob.
sf
sf
sf
sf sf
sf
sf
sf
sf sf
Fl.
71
Cl.
Bsn.
Hn.
Tbn.
Hp.
5
ff
5
5
ff
5
5
5
5
5
5
ff
ff
5
5
5
5
5
5
5
5
5
5
5
5
5 5
5
5
5
5
5
5
5
ff
5
5
ff
5
5
C# D§
ff
Vc.
5
Vla.
5
5
Vln. 2
5
5
5
f
ff
Pno.
Db.
Perc.
Vln. 1
5
ff Tpt.
5
ff
5
ff
5
ff
5
ff
Ob.
33
5
5
34
Fl.
72
Ob.
Cl.
Bsn.
Hn.
Tbn.
Perc.
mp
to Bass Clarinet
pp
mp
Tpt.
pp
3
solo
3
3
6
5
3
5
3
6
5
5
p
mf
f
5
3
5
p
5
f
f
f
mf
p
3
mp
Hp.
5
Pno.
5
5 5
diminuendo
(p)
5
Vln. 1
Vln. 2
Vla.
mp
5
pp
5 mp
5
5
dim.
5 dim.
5
5
5
5
ppp
5
pp
5
p
pp
pp
p
ppp
5
5
Db.
(ppp)
5
mp Vc.
5
5
p
5
3
p
mp
mp
mp
mp
74
Fl.
Ob.
Bsn.
Hn.
5
B. Cl.
35
5
mp
f
sf
3
3
5
3
6
f
5
5
ff
(c.s.)
Tpt.
Tbn.
sf
Perc.
Hp.
pp
f
mf
pp
5
p
mp
f
mf
pp
mp
3
mp sf
5
3
5
mp 3
5 sf
3
3
3
3
mp
5 mp 3
sf
3
3
7
mp
5
mf
5
5
5
5
3
3
mf
mp
3
3
mp
3
quasi legato, on the string
mf
3
mp
3
mp quasi legato, on the string
mf
3
quasi legato, on the string
3
mp quasi legato, on the string
mf
5
quasi legato, on the string
mf
sf
Db.
6
Vc.
3
mp
sf
Vla.
ff
Vln. 2
6
mf
mf
Pno.
Vln. 1
5
ff
5
3
3
36
76
Fl.
8
fltr.
6
p
Ob.
B. Cl.
Bsn.
Hn.
3
f
3
sf
sf
6
mf
3
mf
Tpt.
Tbn.
Perc.
Hp.
p
Db.
ff 5
3
3
3
3
5
3
3
3
3
3
5
5
ff
3
7
ff
3
Vc.
5
5
f
ff
mf
7
Vla.
mf
f
3
ord.
8
Vln. 2
mf
Pno.
Vln. 1
mf
sf
3
mp
78
Fl.
Ob.
B. Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Hp.
37
mp
5
mp
5
5
3
mf
5
5
Vc.
mp
5 6
mf
f
f
f
ff
5 sf
f
mp
mp
3
mf
3
3
mf sfz
3
mf
sfz
3
3
3
3
mf
mf
5
mp
5
3
f
6
6
f 5
6
f
5
mp
sfz
sfz
mp 3
mp
sfz
mp
Db.
mp Vla.
mf
mp
Vln. 2
3
Pno.
Vln. 1
fltr.
3
6
f
5
mp
f
5
38
80
Fl.
Ob.
ord.
ff
5
5
5
f
Perc.
Hp.
Vln. 1
5
solo
mp
to Piccolo
p
mp
f
mf
mf
mp
3
mp
3
p
mp
3
mf 5
3
mp
3
mp
p
p
p
p
(bowed)
CROTALES
ff
mf
5
ff
5
5
mf
mf
3
mp
3
mp
p
mp
p
3
mf
mp
3
3
mf 5
mp
mp
3
3
mf
5
p
p
p
ff
Db.
pp
ff
Vc.
ff
Vla.
ff
Vln. 2
3
Pno.
mf
f
Tbn.
mf
ff
Tpt.
mf
ff
Hn.
to Clarinet
ff
Bsn.
mf
ff
B. Cl.
5
39
82
Picc.
Ob.
6
Hn.
6
3
Hp.
Pno.
(Crot.)
Vc.
f
mp
mf
mf
p
mf
mf
p
p
mf
3
f
3
Vla.
Vln. 2
Db.
Perc.
Vln. 1
Tpt.
Tbn.
Cl.
Bsn.
p
p
40
84
Picc.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
solo p
3
Pno.
Vln. 1
Vln. 2
Vla.
3
mf
3
mf
3
mf
Vc.
p
p
p
ppp
mp
ppp
mp
f
5
mp
5
ALMGLOCKEN soft sticks
p
6 7 ff
5
mp
MED. TAM-TAM
TRIANGLE
mp
mf
TAM-TAM scrape beater on rim
p
sul pont.
mf
mp
mf
mf
p
mp
mf
ppp
3
p
mp
mf
3
Db.
mf
9
ppp
to Flute
mp
scrape metal beater on rim
mp
Hp.
Perc.
6
mf f
GONG
9
mf
mf
mp
f sul pont.
f
mp
f
sul pont. f sul pont.
mp
poco a poco ord.
poco a poco ord.
poco a poco ord.
poco a poco ord.
poco a poco ord.
mp
mp
sul pont. mp
f
mp
mp
mp
41
89
Fl.
Ob.
f
Hn.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
5
ff
mp
mf
mfp
mfp
mfp
mfp
mfp
mfp
mfp
mfp
mfp
mfp
f
mf
f
mf
mf
mf
mp
mp
f
mp
f
mf
5
5
SUSP. CYMB. bowed
Perc.
5
6
Tpt.
Tbn.
5
Cl.
Bsn.
f
42
92
Fl.
Ob.
5 3
Cl.
Bsn.
Hn.
3
3
pp
mp
pp
mp
pp
Tpt.
Tbn.
Perc.
Hp.
Pno.
pp
mf
p
ord.
sul pont.
sul pont.
Vln. 1
pp
p
3
mp
f
f
sul pont. ord. mp f sul pont.
Vln. 2
f
sul pont.
Vla.
Vc.
Db.
ord.
f
p
p
mp
mp
f
f
sul pont.
mp
f
p
p
43
Ob.
Cl.
94
Fl.
pp
Bsn.
Hn.
p
pp
pp
Tpt.
Tbn.
3
5
f
pp
pp
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mp
3
pp
3
5
pp
scrape rim of Tam-tam
mp
mf
f
pp
MED. TAM-TAM 3
mf
p
pp
f
7
SUSP. CYMB.
Perc.
p
p
ff
mp
f
mp
mp
mp
f
f
mp
f
f
44
10 96
Ob.
Cl.
Fl.
mf
Bsn.
Hn.
mf
mf
Tpt.
Tbn.
ff
mf
Perc.
Hp.
Vln. 1
Eb Fb Gb Ab Bb C D
Vln. 2
Vla.
F# G§
sf
pizz.
f
pizz.
pizz.
f
Vc.
Db.
pizz.
f
pizz.
f
7:4
f
ff
ff
XYLO.
f
10
mp
f
solo Pno.
CHINESE WD. BLK.
sfz
sfz
sfz sfz
sfz
sfz
sfz
loco
sfz sfz sfz
98
Fl.
f
Ob.
mf
Cl.
Bsn.
mf
dolce
7
p
5
7
5
p
to Bass Clarinet
45
7
5
mf
Hn.
Tpt.
p
senza sord.
p
Tbn.
Perc.
(Xylo.)
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
9
to Timpani
Eb F# G A Bb C D
mf
9
mf
Hp.
mf
5
mp dolce
5
5
mf sfz 11 11 11 arco
mp
6
5
mf
mp
6
5
mp
mf
6
5
46
100
Fl.
Ob.
Hn.
5
Perc.
5
5
11
6
mp
6
6
5
12
6
7
mp
5
5
Db.
pp
pp
mp
mp
TIMPANI
5
mp
3
gliss.
p
mp
pp
6
5
pp
mf
7 3 5 f
sf
6
3 f sf arco 3 5 6 7 5
arco
f
Vc.
p
mf
Vla.
5
p
to Piccolo
5 3 f 7 sf
Pno.
Hp.
Vln. 2
f
mp
mf
mp
6
Vln. 1
f
Tpt.
Tbn.
5
mf
B. Cl.
Bsn.
7
7
sf
arco 3 7 5 f sf arco 3 5 3 f sf
solo
102
Picc.
B. Cl.
f Bsn.
Hn.
Tbn.
3
solo f
3
5
mf
3
sf
to Mark Tree and Xylophone
mf
3
f
3
mp
MARK TREE
mp
f
(c.s.)
gliss. mp
3
gliss. mp
3
Pno.
Vln. 1
f
Vln. 2
f
Vla.
f
Vc.
Db.
f
glissando downwards by scraping strings with fingernails
mp
pizz.
mf
mf
5
sfmp
mp
5
3
gliss.
f
5
gliss.
f
3
f
mp
mp
ff
mp
mf
mf
3
mf
mf
f
mf
3
XYLO.
mp
Hp.
3
f
Perc.
5
mp
f Tpt.
5
mf
f
7
mf
Ob.
47
3
gliss.
48
9 104
Picc.
f
B. Cl.
3
mp Bsn.
Hn.
Tbn.
Perc.
Hp.
Pno.
Db.
(Xylo.)
5
3
3 3
7
mf
3
f
mf
5
5
mp
mf
f
mf
mf
7
f
f
7
f
5
mp
3
3
3
mp
sf
mp
mp
f
mp
3
f
f
mf
arco
7
mf
7
mf
sul pont.
f
mf
p
mp
7
f
f
3
pp
sfp
mf
3
mf
Vc.
3
f
mf
f
f
Vla.
3
mf
Vln. 2
mp
f
Vln. 1
Tpt.
Ob.
6
3
3
3
mp
3
3
106
Picc.
f
Hn.
Tbn.
5
gliss. 5
Pno.
f
3 3
5
5
5
5
3
f
mp
gliss. 5
gliss. 5
gliss.
5
mp
3
3
p
mf 5
sul pont.
5
3
f
f
mp
5
3
f
mf
f
mp
sf
3
f
5
mp
f
Vc.
3
Vla.
Vln. 2
f
pizz.
Db.
(Xylo.)
Hp.
Perc.
Vln. 1
gliss.
Tpt.
B. Cl.
Bsn.
Ob.
49
arco
3
mp
mp 3
mp
(sul pont.)
3
mf
3 mp mf f f
5
mf
mp
f
5
mf
pizz.
5
mp
3
3
3
3
f
3
f
mp
3
f
mp
3
f
mp
Picc.
108
f
mp Bsn.
mp
Hn.
Tbn.
Perc.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
gliss.
gliss.
(Xylo.)
f
3
mf
mf
6
3
MARK TREE
ff
3
3
f
3
3
3
mf
mf
f 3
f
3
mp
f
mf
arco
mf
7
mf
7
3
f
mp
Db.
3
7
3
ff
3
3
to Clarinet
mp
Vc.
mf
3
Tpt.
ff
B. Cl.
7
mf Ob.
50
mf
6
mf
3
3
ff
ff
3
3
ff
ff
3
ff
Picc.
11 110
mp sub.
Ob.
m sub.
Cl.
mp sub.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Hp.
Pno.
con sord.
con sord.
mf
sf
p
sf
mp
AXATSE
mf
sf
sf
sf
sf
mp
sf
mp
sf
p
mf
mp
sf
p
mf
mp
Db.
mp
mp
Vc.
mp
mp
Vla.
sf
sf
con sord.
mp
Vln. 2
sf
11
Vln. 1
sf
mp sub.
mf p
51
mp
mp
mp
mp
5
mf
mf
mf
mf
mf
5
52
Picc.
111
Ob.
Cl.
Bsn.
Hn.
Perc.
Hp.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
(Axatse)
mf
mf
mp
mp
WHIP
mp
mf
Pno.
Tpt.
Tbn.
7
7
7
7
sf
5
sf
sf
sf
sf
sf
112
Picc.
mp
Ob.
mp
Cl.
Bsn.
Hn.
Tbn.
mp
sf
Hp.
mp
Vln. 1
sf
sf
sf
sf
mf
mf
mf
mf
mf
mf
mf
mf
Db.
mf
Vc.
Vla.
Vln. 2
Pno.
AXATSE
Perc.
sf
mp
sf
mp
sf
Tpt.
mp
53
mf
pizz.
pizz.
arco
arco
54
113
Picc.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mf
mf
mf
mf
mp
mp
mf
mf
mf
mf
E F G# A BCD
ff
sfz
sfz
sfz
sfz
mf
f
f
f
to flute
f
f
f
mp
f
sfz
12
Fl.
115 FLUTE
fff
Ob.
Cl.
Bsn.
f
fff
f
3
6
f
Tpt.
fff
Tbn.
Perc.
TIMPANI
mf
ff
Gb
12
Vln. 1
Vc.
Db.
fff
f
ff
sul D
f
3
f
6
5
mp
HIGH TAM-TAM
f
mp
sf
sf
sf
sf sf sf
E§ G# A§
sf sf sf
sf sf sf
ff
loco
suoni reali
6
fff
7
fff
f
fff
3
7
Eb
fff
f
f
ff
mf
7
ff
f
fff
f
TIHAI
fff
fff Vla.
3
Ab
mf
f
fff
Vln. 2
fff
+ B.D.
f
Pno.
5
sf sf sf
sf
f
sf sf sf
f ff
f
fff
fff
Hp.
5
fff
sf sf sf
sf
ff
ff
55
sf sf sf sf
ff
fff
Hn.
sf
fff
TIHAI
fff
ff
ff
56
Fl.
118 6 5
5
6
f
Ob.
6
f
Cl.
5
ff
5
ff
mf
mf
Pno.
Vln. 1
mf
(Tam-Tam)
f
f
Vc.
7
6
f
ff
fff
6
ff
mf
3
mf
E§ G# A§
Eb
fff
fff
fff
f mp
f
sf
sf sf sf
sf
sf sf sf
f
fff
3
6
sul D
sf sf sf sf ff
loco
f
mf
f
ff
Ab
fff
ff
f
fff
ff
ff
f
sf sf sf
f
fff
7 fff f
sf
f
7 f fff
+ B.D.
f
Gb
fff
sf sf sf
7
7
ff
sf
ff
5
5
fff
sf
f
TIMP.
sf
fff
sf sf sf
f
Vla.
fff
Vln. 2
Db.
ff
Hp.
3
fff
5
Perc.
ff
6
f
sf
sf sf
ff
Tpt.
f
6
sfz
Tbn.
fff
6 f
Hn.
fff
ff
f
Bsn.
fff
ff
fff
suoni reali
3
f
6
ff
ff
121
Fl.
f
ff
5
Ob.
6 5
6
f
6
Cl.
ff
f
Bsn.
Hn.
f
Tpt.
Tbn.
7
Perc.
Hp.
mf
mf
f
Vla.
mp
Vln. 2
f
ff
fff
6
ff
fff
TIMP.
Db.
f
3
ff
6
f
ff
f
mf
Gb
fff
7
+ B.D. 3
mf
f
f
fff
fff
f
fff
fff
f
fff
f
fff
7 f 7
5 f
ff
7
f
5
fff
Vc.
fff
fff
ff
Pno.
Vln. 1
fff
ff
fff
f
6
HIGH TAM-TAM
5
mf
f
fff
5 7 5 (Timp.)
6
sfz
ff
7
fff
5
6
ff
57
7 fff f fff
3
6
f
sul D
fff
suoni reali
3
f
6
ff
58
124
Fl.
sf
Ob.
sf
Cl.
Bsn.
Hn.
sf
sf
f
Tpt.
f
Tbn.
sf sf sf
sf sf sf
sf sf sf
ff
ff
Hp.
Eb
Vln. 2
Vla.
7
7
7
5
mp
f
mp
sf
sf
sf sf sf
sf sf sf
sf sf sf
loco
ff
ff
f
5
6
ff
6
ff
6
ff
7
7
7
f
7
f
to Celesta
5
f
HIGH TAM-TAM
mf
5
mf
5
ff
ff
f
gliss.
5
mf
sfz
ff
f
ff
Db.
6
sf
Vc.
E§ G# A§
6
6
Pno.
Vln. 1
f
f
Ab
ff
mf
f
f
ff
sf sf sf
f
Perc.
6
f
7
Fl.
13 127
59
Meno mosso q = 56c.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Hp.
Cel.
Vln. 1
E F Gb A Bb C D#
10
13
10
Meno mosso q = 56c.
Vln. 2
Vla.
Vc.
Db.
10
5
5
60
128
Ob.
Cl.
Fl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
ALMGLOCKEN
pp
Hp.
Cel.
12
p
Vln. 2
Vla.
Vc.
Db.
mp
Vln. 1
p
bisbig.
soft sticks
61
129
Ob.
Cl.
Fl.
Bsn.
Hn.
Tpt.
Tbn.
TUBULAR BELLS
Perc.
Hp.
Cel.
Vln. 1
7
9
3
gliss.
sempre l.v.
mf
loco
3
3
5 5
3 3
p
3
Ab
F# D§
3
E#
B§
9
3
3
5
10
Vln. 2
Vla.
Vc.
Db.
62
131
Ob.
Cl.
Fl.
Bsn.
Hn.
Tpt.
Tbn.
STEEL SPRING
Perc.
Hp.
3
3
5
5
G§
Cel.
3
3
9
3
6
Vln. 2
Vla.
Vc.
Db.
p
7
3
mf
Vln. 1
TUBL. BELLS
3
mp
Db
5
3
D§
63
133
Ob.
Cl.
Fl.
Bsn.
Hn.
Tpt.
Tbn.
(Tubl. Bells)
Perc.
mf
Hp.
B# C#
Cel.
Eb
11
gliss.
mp
5
9
Vln. 2
Vla.
Vc.
Db.
Vln. 1
3
gliss.
64
134
Ob.
Cl.
Fl.
Bsn.
Hn.
Tpt.
Tbn.
STEEL SPRING
Perc.
Hp.
5
12
3
10 10
3
to Alto Flute
TUBULAR BELLS
mp
Cel.
14
s. glis
7
p
3
Eb Fb G Ab Bb C# D
5
3 3
3
3
Vln. 2
Vla.
Vc.
Db.
Vln. 1
3
3
14
65
136
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
(Tubl. Bells)
Perc.
5
Cel.
Hp.
5
f
A§
3
ff B#
3
sf F#
3
3
Vln. 2
Vla.
ppp con sord., senza vib.
Vc.
ppp
Db.
p
mf
F§
ppp con sord., senza vib.
ppp
con sord., senza vib.
sf
3
con sord., senza vib.
Vln. 1
3
glis s.
A. Fl.
11
66
138
Ob.
Cl.
A. Fl.
Bsn.
Hn.
ppp
Cel.
Vln. 1
Vln. 2
5
6
6
5
F#
C#
Vc.
G#
5
Bb Cb
mp
Vla.
Db.
pp
pp
(con sord.)
ppp
pp
(con sord.)
(Tubl. Bells)
Hp.
ppp
pp
Perc.
ppp
Tpt.
Tbn.
(blend with brass)
7
5
D#
C§
5
5
Gb
9
5
E§
10
ppp
pp
pp
pp
ppp
ppp
ppp
pp
67
140
Ob.
Cl.
A. Fl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Hp.
(Tubl. Bells)
F§ Cb
Vln. 1
Cel.
Vln. 2
6
Vc.
Db.
Ab 3
3
3
vib.
ppp
vib.
vib.
ppp
dolce
dolce
3
5
5
C#
ppp
Vla.
5
SPRING
(l.v.)
mp
G§
5
5
. gliss
3
to Piano
68
15
Lento q = 44
142
A. Fl.
Ob.
Cl.
Bsn.
Hn.
3
pp
5
p
5
pp
p
(con sord.)
(con sord.)
Tbn.
Perc.
Hp.
3
5
5
3
pp
p
p
ppp
p
3
Lento q = 44
p 3
legato sempre, on the string
pp
con sord.
legato sempre, on the string
5
legato sempre, on the string
3
3
3
p
pp
5
3
3
pp p
con sord.
Db.
pp
3
(con sord.)
Vc.
ppp
pp
Vla.
(con sord.) legato sempre, on the string
Vln. 2
pp
p
pp
15
Vln. 1
5
3
Cel.
dolciss. (blend with strings)
ppp
3
pp
ppp
Tpt.
3
legato sempre, on the string
ppp
5
6
5
p
7
3
7
mp
3
5
5
3
sul pont. dolciss. gliss.
3
sul pont.
dolciss.
ord.
5
gliss.
p
ord.
mp
3
p
sul pont.
dolciss.
3
pp
3
69
145
A. Fl.
5
11
pp
Ob.
5
Cl.
3
3
pp
5
pp
Bsn.
Hn.
Vln. 2
Vc.
Db.
3
3
7
3
pp
MED. TAM-TAM
Eb F G A Bb C# D
pp bisbig.
p
3
pp
mp
gliss.
mp 3
sul pont.
ord.
5
molto vib.
ord.
gliss.
mp
p
3
mp gliss.
p
gliss.
pp
p
3
p
gliss.
ord.
mp sul pont.
molto vib.
3
sul pont.
gliss.
p
mp
p gliss.
gliss.
sul pont.
molto vib.
sul pont.
dolciss.
sul pont.
p
pp
ord.
p
3
3
sul pont.
p
3
p
p
pp
p
Vla.
pp
5
ppp
Pno.
Vln. 1
Hp.
3
pp
p
Perc.
pp
p
pp
p
Tbn.
p
Tpt.
5
5
7
molto vib.
gliss.
70
147
A. Fl.
5 6 9
pp
Ob.
p
5
Perc.
pp
3
p
Vln. 2
Vla.
gliss.
gliss.
3
pp
6
pp
p
pp
p
senza sord.
3
p
(molto vib.)
blend with double-bass
gliss.
ord.
p
mp
ord.
p
mp gliss.
gliss.
3
p
pp
3
p pp
p
sul pont.
ord.
sempre l.v.
mp
mp sul pont.
Vc.
gliss.
p
pluck strings with finger inside soundboard mp
sul pont.
ord.
pp
p
3
ppp
3
(molto vib.)
pp
5
Pno.
3
ppp
bowed
3
pp
CROTALES
pp
pp
Hp.
Db.
3
p
p
p
3
Tpt.
Vln. 1
p
Tbn.
3
7
Hn.
5
pp
Cl.
Bsn.
7
mp
sul pont.
p
ord.
mp
3
p
sul pont.
gliss.
sul pont.
gliss.
3
p
mp 3
ord.
sul pont.
ord.
mp gliss.
gliss.
gliss.
71
149
A. Fl.
5
3
7:6
pp
Ob.
p
Hn.
pp
Tpt.
3
Perc.
pp
Db.
ppp
gliss.
p
mp
3
p
3
gliss.
mp gliss.
5
ord.
p
ord.
sul pont.
sul pont.
ord.
p
sul pont.
mp
ord.
gliss.
p
sul pont.
sul pont.
gliss.
mp
pp
pp table
p
10
ppp
9
pp
ord.
Vc.
9
p
11
(catch from the piano)
Vla.
Vln. 2
p
10
p
3
ppp
Vln. 1
p
mp chiaro
Pno.
p
pp
gliss.
Hp.
5
pp
10
5
pp
Tbn.
10
5
pp
pp
p
5
9
pp
Cl.
Bsn.
pp
pp
7
9
p
mp 3
3
sul pont.
ord.
p
5
p
sul pont. gliss.
sul pont.
mp 3
mp
ord.
gliss.
gliss.
mp
gliss.
5
p
gliss.
72
16
10
10
151
A. Fl.
dolciss.
Ob.
pp
Bsn.
p
pp
p
p
9
pp
pp
p
10
11
9
10
3
pp
10
9
10
pp
Pno.
gliss.
p
pp
p
gliss.
ppp
pp
p
mp ord.
sul pont. gliss.
3
5
gliss. gliss.
3
gliss. 3
ord.
mp
p sul pont.
gliss.
mp
mp
gliss.
sul pont.
molto vib.
gliss.
p sul pont.
ord.
5
p
5
p
mp
gliss.
sul pont.
sul pont. gliss.
mp
p
gliss.
ord.
gliss.
mp
pp
16
sul pont.
pp
3
dolce
ppp
p
p
mp
ppp
Vc.
3
10
10
con sord.
p
Vla.
9
Vln. 2
3
pp
Hp.
p
p
Perc.
9
9
MED. TAM-TAM
Db.
pp
pp
ppp
Vln. 1
10
Tpt.
Tbn.
10
9
Hn.
p
11
10
Cl.
pp
11
pp
10
mp
ord.
sul pont. gliss.
5
mp 3
sul pont.
gliss.
5
mp
ord.
p
ord.
sul pont.
p
gliss.
mp
p
5
gliss.
mp
73
A. Fl.
pp
Ob.
Bsn.
Hn.
Tbn.
7
7
Pno.
p
3
3
3
3
p
pp
p
p
pp
gliss.
5
3
pp
gliss.
to Cor Anglais
p
pp
ppp
pp
ppp
B.D.
to Crotales
pp
ord.
ord.
mp
sul pont. gliss.
3
p
3
ord.
mp 3
(molto vib.)
3
p
3
mp
sul pont.
ord.
(molto vib.)
mp 3
p 3
ord.
5
sul pont. gliss.
p
gliss.
gliss.
p
gliss.
gliss.
p molto vib.
gliss.
3 3
mp
mp
mp 5
(molto vib.)
p molto vib.
gliss.
sul pont.
mp
mp
p
pp
pp
sul pont.
Db.
p
p
pp
ppp
molto vib.
Vc.
3
Vla.
Vln. 2
p
Hp.
Vln. 1
Perc.
6 3
pp
p
pp
7
5
3
pp
Tpt.
pp
p
Cl.
pp
7
153
pp
gliss.
3
3
p
3
3
3
gliss.
gliss.
3
gliss.
74
157
Fl.
C. A.
solo espressivo 5 5
pp
p
mp
p
mf
Tpt.
Tbn.
Cl.
Bsn.
Hn.
gliss.
ppp
pp
CROTALES bowed, sempre l.v.
Perc.
p
Db.
pp
gliss.
TIMPANI superball on skin, with pedal gliss.
p
p
ppp
pp
pp
gliss.
Vc.
pp
ppp
gliss.
Vla.
pp
3 ppp
Vln. 2
ppp
gliss.
gliss.
Pno.
p
ppp
Hp.
Vln. 1
gliss.
gliss.
3
gliss.
5
senza vib.
gliss.
senza vib.
gliss.
senza vib.
(vib. norm.) espressivo 3 3 pp p p
gliss.
gliss.
gliss.
gliss.
3
ppp 3
pp
5
5
gliss.
gliss.
gliss.
3 ppp
gliss.
gliss.
pp
gliss.
p gliss.
p
mp
75
17
162
Fl.
C. A.
5
5
dolciss.
pp
mf
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
(Timp.) 3 gliss.
Vln. 2
Db.
pp
p
(mp)
3
sul pont.
11
f
Vc.
ppp
10
Vla.
gliss.
rub surface with superball
17
Vln. 1
HIGH TAM-TAM
Hp.
Pno.
p
p
gliss.
pp
mp
3
7
5 3 5 3
mp
f
mp
pp
pp
dolciss.
pp
76
165
Fl.
C. A.
Hn.
3
5
p
5
pp
p
TIMPANI
E# F# G A Bb C D
pp
Vln. 2
Vla.
3
p
3
pp p
Vc.
Db.
5
9
p
mp
mf
gliss.
with superball
ppp
catch from piano
Hp.
pp
gliss.
ppp
(Tam-Tam)
Pno.
gliss.
mf
5
p
Perc.
Vln. 1
5
Tpt.
Tbn.
5
Cl.
Bsn.
Fl.
p
C. A.
fltr.
168
mp
Bsn.
Hn.
p
mp
Vln. 1
pp
ppp
p
vib. norm.
mp
mp
f
mp
pp
pp
3 3
p
5
p
5
5
3
3 5 3
mp
vib. norm.
f
5
18
ppp
3 f 3
p sub. warm
mf
p warm
p warm
3 mf 3
p sub. warm
ppp
mp
l.v. MED. TAM-TAM
5
Vc.
mf
Db.
p
HIGH TAM-TAM with superball
gliss.
ppp
Vla.
Vln. 2
(Timp.)
Pno.
p
Hp.
p
Perc.
sfp
Tpt.
5
5
18
p
Cl.
77
p warm
78
ord. 172
Fl.
ppp
C. A.
ppp
Cl.
ppp
Bsn.
Hn.
p
pp
p
ppp
pp
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
3
p
3
mp
3
gliss.
pp
TUBL. BELLS 3
p
ppp
5
p
pp
ppp
pp
ppp
mp mf
mp
p
gliss.
pp
gliss.
p
3
gliss.
3
3
gliss.
gliss.
TIMPANI with superball
mp
pp
Db.
mf
p
ppp
5
5
3
B.D.
Solo
ppp
mf
p
TUBL. BELLS
Perc.
p
pp
Tpt.
Tbn.
pp
gliss.
p
gliss.
p
gliss.
177
Fl.
C. A.
p
Bsn.
Hn.
p
pp
p
3
p
mp
pp
p
5
to Oboe
p
Pno.
(Timp.)
ppp
gliss.
pp
with superball
pp
3 ppp ppp pp
pp
gliss.
pp
gliss.
mp
p
gliss.
mp
p
dolce
19
pp
Vc.
Vla.
ppp
Vln. 2
mp dolcissimo
mp dolcissimo
Hp.
Db.
pp
Perc.
Vln. 1
Tpt.
Tbn.
p
Cl.
3
19
fltr.
’
79
pp
p
p
dolce
pp
pp
gliss.
gliss.
p
p
dolce
pp
p
gliss.
gliss.
pp
p
80
181
A. Fl.
Ob.
Cl.
Bsn.
Hn.
ord.
dolcissimo
mp
OBOE
dolcissimo
mp
Perc.
Hp.
Pno.
(Timp.)
3
5
mp
ppp
gliss.
pp
gliss.
superball
ppp
p
p
dolcissimo
mp
5
mp
5
dolcissimo
mp
ppp
gliss.
pp
p
mp
mp
5
gliss.
mp
3
3
5
dolcissimo
Db.
dolcissimo
Vc.
mp
dolcissimo
Vla.
Vln. 2
3
5
Tpt.
Vln. 1
5
5
Tbn.
5
5
gliss.
mf
mf
81
185
A. Fl.
Ob.
Cl.
Bsn.
Hn.
mp
Tpt.
mp
mp
mp
Tbn.
gliss.
ppp
pp
gliss. (Timp.)
Perc.
Hp.
Vln. 1
Db.
ppp
pp
gliss.
Vc.
Vla.
Vln. 2
HIGH TAM-TAM
Pno.
3
3
mp
3
3
3
mf
liss. g mp
mf gliss.
3
3
gliss.
3
mp
mp
mp
mp
gliss.
82
20
188
A. Fl.
Ob.
pp
5
p 5
7──┐
Bsn.
Hn.
to Cor Anglais
Perc.
(Tam-Tam)
dim.
Hp.
5
dim.
mp
Tpt.
Tbn.
3
<e = e>
mp
Cl.
Più mosso q = 52c. ┌──
F§
3
sf table
3 3 3 3 3 7:4 3 3 p evenly
Pno.
Vln. 1
Vla.
Più mosso q = 52c. ┌──
3
p
p
pp
Vc.
20
<e = e>
3
7──┐
Vln. 2
Db.
p
pp
gliss.
pp
p
p
mf
fltr.
83
192
A. Fl.
ppp
C. A.
ppp
Bsn.
Hn.
Tbn.
ppp
Tpt.
p
p
p
3
TRIANGLE
mf
3
CROTALES (bowed)
p
p
l.v. mf
sf
3
Pno.
Db.
Vc.
Vla.
Hp.
Vln. 2
Vln. 1
STEEL SPRING
Perc.
COR ANGLAIS (softer than alto flute)
ppp
Cl.
p
Ritard.
3
f
3
3
3
3
3 3 3 3 mf 3
ppp p stagger bow changes
ppp
ppp
p
senza vib., stagger bow changes
p
stagger bow changes ppp
p
stagger bow changes
ppp
Ritard.
stagger bow changes
p
Airon, Sanday, Orkney / Fulham, London (June '05 - Nov '05)